Tag Archives: Blood Relations

Lizzie Borden (Marisa King) and her friendThe Actress (Andrea Irwin Brown) do their last dance tonight in Sharon Pollock’s Blood Relations at Alumnae Theatre. The show is at 8pm; Box Office opens at 7.

Marisa King as Lizzie Borden; Andrea Irwin Brown as The Actress in BLOOD RELATIONS at Alumnae Theatre. Directed by Barbara Larose.Photo: Dahlia Katz

Tickets only $20; walk-ins welcome if you don’t already have a reservation. 70 Berkeley St. (east of Sherbourne, at Adelaide)

Barbara told the audience that Sharon Pollock’s 1980 script, which won a Governor General’s Literary Award for Drama, was previously produced at Alumnae Theatre in 1994. It is remounted this season as a ‘Retrospective Choice’ – part of our Countdown to 100 – Alumnae Theatre Company celebrates its 100th birthday in February 1918! Barbara commented that people had asked her why Blood Relations was selected as this season’s ‘Retrospective Choice’, and her answer is that its themes still resonate today, particularly the aspect of how women fit into society. She noted that Lizzie Borden was probably the first [alleged] celebrity murderess – the female O.J. Simpson of her time!

Following is a rough transcript of the 25-minute Q&A. Unless otherwise indicated, the answers were provided by director Barbara Larose.

Q: The script is ambiguous about whether Lizzie committed the murders or not. Did you and the cast discuss and/or make up your minds in rehearsal?

A: I told the cast they could each make their own decision, but as a director, I did not. I wanted to say open.

A: (Marisa King) I think Lizzie did it!

A: (Thomas Gough) The only mystery is why she didn’t do it sooner!

A: (Sheila Russell) I think she did it. It was a very dysfunctional family. And it was so hot.

A: (Steven Burley) I didn’t decide. As the Defense, I had to believe she didn’t do it. Notes from Andrew Jackson Jennings, the Borden family attorney, were made public a couple of years ago. They provided a lot of material for Lizzie’s defense lawyer.

Q: How did they manage to get her acquitted?

A: It was an all-male jury, some with daughters of their own. Lizzie’s defense team played on their sympathies and prejudices: how could a woman be capable of such a horrible crime?

Q: Is that a real axe?

A: Yes, we’re using a real axe onstage, but it’s not sharpened. It has to be a real axe because Mr. Borden buries in the table in Act I – that’s not a sound effect – that’s the real axe striking the table!

Q: Was it a directorial choice to switch Lizzies?

A: No, it’s in the script. The playwright takes the audience on a journey with The Actress as Lizzie.

A: (Thomas Gough) The Actress was a real person, her name was Nance O’Neil. She was quite well-known in the early 1900’s.

Q: Were Lizzie and The Actress a couple?

A: They were very good friends. [ED. NOTE: this was said with no emphasis and just a slight twinkle!]

Q: How did Lizzie spend her inheritance?

A: She didn’t spend wildly – she stayed in the same town [Fall River, Massachusetts] and bought a nicer house.

Set (designed by Ed Rosing) showing carousel influence in curved platform & flags above; and the scrims to indicate the characters’ shadowy presence in Lizzie’s life.

Q: Lovely effect with the people standing behind the curtains. Were the screens in the script, or a directorial choice?

A: Sharon Pollock’s script only stated that the actors should not leave the stage. Having them stand behind the scrims was my idea – to convey the impression that Lizzie was never free from these people – they were always shadowy presences in her life, even after they were dead. They are memories who have a constant presence.

Q: I saw a movie years ago, with Elizabeth Montgomery as Lizzie Borden. Don’t remember the character of Harry.

A: Oh, yes: and she does the murders naked to avoid blood spatter! (In the actual court testimony, Lizzie was seen burning clothes 3 days later.) Sharon Pollock created the character of Harry Wingate (Abigail’s brother) for the play. In real life, the uncle figure was John Morse, brother of Andrew Borden’s late first wife. He was a suspect in the murders.

A: (Sheila Russell) Emma and Lizzie had cousins with money who lived [in the “good” neighbourhood] on the hill.

Q: Is the Lizzie Borden rhyme attributed to an author?

A: No. And it’s in the script, so if the author was known it would be credited.

A: (Thomas Gough) There’s a rumour that it was written by Emily Dickinson when she was drunk!

Q: How did you come to the decision to use a real axe in the play?

A: I wanted to balance realism and the abstract – use the reality to create real moments. My central image is the carousel – see how the rounded edge of the platform onstage mimics the shape; the lights and coloured flags during Lizzie’s carousel monologue, etc. That monologue seemed like a metaphor for the murders.

Q: I enjoyed the actors’ movements – it flowed.

A: Good! Ginette Mohr did a Laban movement workshop with the cast.

Q: What was the significance of the note that Abigail receives?

A: It’s from her husband, summoning her to town to witness the property transfer in his will – as suggested by Harry in an earlier scene.

A: (Rob Candy) And if she’d just read the note downstairs, she’d have been OK!

A: (Thomas Gough) There was talk of a note in the real case, but it was never found.

Q: Did you study the character of the father?

A: I wanted to avoid a stereotypical “evil” Mr. and Mrs. Borden and show their humanity. When Mrs. B says to Lizzie “You don’t have a choice”, she’s not being mean: it’s a statement of fact. Back then, a woman DIDN’T have a choice (to get married). The Bordens were people of their time. Some people are apart from their time, most live in their time.

A: (Rob Candy) Thomas is actually a very violent person backstage. If I steal his crossword he goes ballistic!

Q: Why so much pressure for Lizzie to get married [to Johnny McLeod with three little monster-children], but none for Emma, who was older?

A: Because Emma’s duty was to stay at home and look after parents in their old age!

After a bloody good opening weekend, the cast and crew of Blood Relations had a well-deserved couple days off. They return to the stage tomorrow night (Wednesday). Wanna come see the show? Tickets are 2-for-1 (regularly $20 each) …

And did you know that Blood Relations is this season’s ‘Retrospective Choice’ in Alumnae Theatre Company’s ‘Countdown to 100’? As we approach our 100th anniversary in February 2018 – which makes us almost 97 now! – each season our Programming Committee selects one play that was previously produced here, to be re remounted.

Blood Relation was previously performed at Alumnae Theatre in September of 1994, directed by Lynda Hill (currently Artistic Director of Theatre Direct; formerly with Nightwood Theatre and Cahoots Theatre Projects). The cast was Lynn Woodman (as the Actress), Kate Johnston (as Lizzie), Ilene Cummings (as Emma), Joel Rinzler (as Dr. Patrick/Defense), Mark Hondroyanis (as Harry), Esther Hockin (as Abigail Borden), and Don Ciaschini (as Andrew Borden). When you come to see the show, check out the program, photos, and costume designer’s sketches from that production – they’re displayed on the corkboard in the lobby, beside the Box Office desk.

Sunday’s matinee at 2:00pm (tickets are PWYC; no reservations; no online sales) will be followed by a Talkback with [current] director Barbara Larose, the cast, and some of the designers.

So, first, a confession: I’d never read or seen Sharon Pollack’s Blood Relations. Not until last night, that is, at Alumnae Theatre Company’s opening night, directed by Barbara Larose, assisted by Ellen Green.

We are in the Borden home in Fall River, Massachusetts, 10 years after Lizzie Borden’s acquittal of the brutal double murder of her stepmother and father. Ragtime music fills the theatre and, in the dim pre-show lighting onstage, you can make out the main floor of the home: dining room and parlour, separated by a dark wood finish staircase. Down stage right is a pigeon coop; down left is a garden with a stone bench.

The ever present question: “Did you, Lizzie? Lizzie, did you?” sets the scene for a memory game of storytelling, played by Lizzie (Marisa King) and her friend/lover The Actress (Andrea Brown), taking the audience back in time to the circumstances leading…

Note: no reservations taken or online tickets sold for Sunday performances.

Blood Relations is our “Countdown to 100” Retrospective Choice, originally produced in the Alumnae Theatre Company’s 1994/95 season. Materials from that production are on display in the lobby – have a look!

This sign posted above the staircase at the Borden house in Fall River, Mass. – now a bed & breakfast establishment. Photo: Jason H. Bratton

And check out this very interesting blog post, which contains a review of a TV series about Lizzie Borden, as well as photos of the house in Fall River, Massachusetts where the murders took place in 1892.

From the Alumnae Theatre Company members’ newsletter:Rehearsals for Blood Relations, Alumnae’s next production (Mainstage, January 23 – February 7, 2015) are in full (axe)swing! Here’s a peek into the latest goings-on from director Barbara Larose.

We have moved onto the mainstage and are just about to start set construction. It’s an exciting time when all the design ideas start to become “real” and we explore the space of our play. Set Designer Ed Rosing and Master Carpenter Sandy Thorburn are embarking on their busiest time.

The cast is amazing and includes three Alumnae Theatre members – Andrea Brown, Kathleen Allamby and Sheila Russell. Rounding out the cast are Marisa King, Thomas Gough, Rob Candy and Steven Burley. They are working hard at the moment getting “off book” and prepping for our Stumblethrough before the holiday break.

Recent rehearsals have included an evening of stage combat with movement specialist, Paul Babiak; a wonderful period dance review with our consultant Rick Jones (who is also our Sound Designer), while our fabulous Stage Manager Margot Devlin, tried valiantly to record every, step, hop, kick and turn; and a thrilling Laban and movement workshop for the cast conducted by Alumnae member Ginette Mohr. Several cast members are also busily working away outside rehearsal with our Irish dialogue coach Michael Armstrong. The wonderful Ellen Green is the Assistant Director – she doesn’t let me miss anything and provides so much valued insight and assistance in working with cast and design. As the Director, it seems I need to be several places at one time and Ellen’s assistance makes that possible!!

Alumnae design star Margaret Spence, who we are so lucky to have as our Costume Designer, has fitted everyone for their period costumes and the women are all rehearsing in their corsets and rehearsal skirts. On props, we have the indomitable and lovely Razie Brownstone. She is out there right now looking for just the right hatchet for the job, among a myriad of other period props [Ed. note: Sharon Pollock’s award-winning play is set in 1902 – 10 years after Lizzie Borden’s infamous acquittal for the axe murders of her father and stepmother ].

On December 20, we are conducting a test of some of the material we are using on the set – with Ed and our Lighting Designer, Gabriel Cropley. And I’m looking forward to finding out how the concept will translate and what it will actually look like under the lights!

The Producing Team is working behind the scenes making sure everything happens that is supposed to happen and coordinating the activities and expenditures of all the departments. The Team is led by our Executive Producer Brenda Darling and includes Krystyna Hunt, Carina Cojeen and Sandra Burley. Our Marketing Director Chloe Whitehorn is handling the press and marketing materials that will bring in an audience to enjoy the results of our work.

Blood Relations opens January 23. Part drama, part mystery, all compelling.

The first show of our season, George F. Walker’s Escape From Happiness, is not even open yet (starts this Friday, Sept 26), and already we’re scheduling auditions for the January show.

Blood Relations

By Sharon Pollock

Directed by Barbara Larose

Performance dates: January 23 – February 7, 2015

In this Governor General’s Award-winning play, Sharon Pollock takes us on a psychological journey, bringing the past to life in a search for a possible answer, a possible motive for murder. The only suspect, the real Lizzie Borden, was acquitted of murdering her father and stepmother with an axe, in 1892. But in Blood Relations, set 10 years later, the chilling question still repeats, “Did you, Lizzie?” “ Lizzie, did you?”